Capsule reviews for April 28

The Eight Mountains

Thematically simple yet emotionally complex, this character-driven Italian drama is a compelling and richly textured glimpse into the inextricable bonds of friendship and the relationship between humans and nature. It follows Pietro (Luca Marinelli) and Bruno (Alessandro Borghi), who reunite in the mountain village where they bonded as children. Although they’ve drifted apart, they remain somehow linked by a shared history, a common Alpine locale, and an uncertain future. The engrossing performances keep the film on track during its stretches of uneven narrative momentum. Still, this contemplative adaptation of an acclaimed novel by Paolo Cognetti is beautifully rendered, and not just for its striking visuals. (Not rated, 147 minutes).

The End of Sex

Despite some big laughs, a sense of emotional detachment prevents this predictable Canadian romantic comedy from working either as a raunchy farce or as a more grounded relationship saga. After sending their children to camp for a week, Emma (Emily Hampshire) and Josh (Jonah Cernick) see an opportunity spice up their love life, which has lacked sizzle given the pressures of parenting and adulthood. However, the extra time together winds up having the opposite effect. The film finds relatable humor in their mutual discomfort. However, Chernick’s screenplay plays out like a sitcom pilot that lacks a rooting interest in the romantic fate of the central couple. (Rated R, 87 minutes).

Polite Society

With style and attitude to spare, this subversive genre mashup about an angst-ridden teenager trying to pursue her dreams playfully tweaks stereotypes with an empowered heart beneath its romantic-comedy silliness. Aspiring stuntwoman Ria (Priya Kansara) doesn’t want her older sister (Ritu Arya) to compromise her career for an arranged marriage, so she teams with her two best friends to upend patriarchal tradition and sabotage the wedding, which turns into a wild adventure. Although it overdoses on quirks, the screenplay by rookie director Nida Manzoor is an amusing crowd-pleaser. The film is infused with cultural specificity, but Ria’s tough-minded determination should resonate with girls of any background. (Rated PG-13, 103 minutes).

RMN

Regardless of your familiarity with sociopolitical turmoil and systemic oppression in Romania, this powerful drama from director Cristian Mungiu (4 Months, 3 Weeks and 2 Days) packs an emotional punch. It’s set during the holiday season in a remote village in Transylvania, where Matthias (Marin Grigore) returns from Germany to rekindle a spark with musician Csilla (Judith State). Their lives intersect with others as economic despair, bureaucracy, xenophobia, and more tear at the fabric of their town. The deliberately paced film is understated yet potent thanks to Mungiu’s quietly perceptive screenplay, which tells a compelling human story layered with unsettling moral complexities and uncomfortable universal truths. (Not rated, 128 minutes).

Sid Is Dead

Trotting out some exaggerated cliches and stereotypes, this raunchy teenage comedy squanders any meaningful chance to make a deeper emotional impact. The perspective certainly is familiar, centering on Sid (Joey Bragg), a socially awkward high school senior content to steer clear of drama until he inadvertently gets the class bully (Justin Matthews) suspended. That gives him two weeks to experience popularity before he’s inevitably pummeled back into obscurity. The film never finds its footing as either a broad compilation of quirky adolescent hijinks or a more sensitive look at self-esteem and being true to yourself. There are laughs and heart, but not enough of either. (Not rated, 90 minutes).

Sisu

As the craziness escalates, the stakes dwindle in this compilation of over-the-top violence and gore that at least knows not to take itself too seriously. Targeted at genre aficionados, this freewheeling action saga takes place in northern Finland during World War II, when a prospector (Jorma Tommila) is attacked by Nazis who steal his gold. But although he’s old and outnumbered, the vengeful ex-commando’s resilience and resourcefulness make him practically indestructible. As directed by Jalmari Helander (Rare Exports), there’s a certain gonzo audacity to the stylish and progressively more outrageous confrontations and death sequences, even if the film becomes too repetitive to sustain its tension. (Rated R, 91 minutes).